Opera Reviews
Alice in Wonderland, BBCSO, Brönnimann, BarbicanMonday, 09 March 2015
The Southbank Centre’s Women of the World Festival may have been the largest cultural event marking International Women’s Day 2015, but it wasn’t the most ambitious. Over at the Barbican two women were responsible for a multimedia opera staging whose spectacle, level of detail and sheer force of personnel involved was staggering. Read more... |
Ruddigore, Charles Court Opera, King's Head TheatreTuesday, 03 March 2015
How can a feisty village dame duetting “lackaday”s with the mounted head of a long-lost, nay, long-dead love be so deuced affecting? Ascribe it partly to the carefully-applied sentiment of Gilbert and Sullivan, slipping in a very singular 11-o’clock number after so much Gothick spoofery, partly to two consummate and subtle singing actors, Amy J Payne and John Savournin, in a production of spare ingenuity by the latter, true Renaissance/Victorian man equally at home in opera and operetta. Read more... |
Le Roi de Lahore, Chelsea Opera Group, QEHMonday, 02 March 2015
Now that opera houses mostly lack either the will or the funds to stage the more fantastical/exotic pageants among 19th century operas – the Royal Opera production of Meyerbeer’s mostly third-rate Robert le Diable was an unhappy exception – it’s left to valiant concert-performance companies like Chelsea Opera Group to try and trail clouds of kitschy glory. Read more... |
Die Zauberflöte, Royal OperaSunday, 01 March 2015
Mozart’s The Magic Flute is one of those operas, like Verdi’s Il trovatore and all the mature Wagner masterpieces, which need a line-up of equally fine singers but rarely get it in the compromised world of the opera house. Read more... |
The Indian Queen, English National OperaFriday, 27 February 2015
When Purcell died at just 36, he left The Indian Queen unfinished, which only adds to the usual problems of staging his "semi-operas" – plays with musical interludes which don’t really accord with modern operatic tastes, despite the ravishing beauty of the music itself. Read more... |
Hansel and Gretel, Welsh National OperaSunday, 22 February 2015
After 16 years one might expect a revival of a repertory opera like Hansel and Gretel to come up with a dusty look and frayed edges. But Benjamin Davis has done a brilliant job pumping the life back into Richard Jones’s memorable but intricate 1998 staging of Humperdinck’s pocket Wagnerian masterpiece. Read more... |
Farinelli and the King, Sam Wanamaker PlayhouseSaturday, 21 February 2015
Farinelli and The King is pretty much a perfect piece of theatre. More importantly, though, it’s perfectly timed. In a month when English National Opera’s troubles have made the front page, when op-eds are all about why Simon Rattle’s dreams of a new concert hall for London are fruitless, this paean to music – to its serious, healing, transformative power – is not only resonant, but necessary. Read more... |
La Vida Breve/Gianni Schicchi, Opera NorthThursday, 19 February 2015
The good news first: director Christopher Alden’s new production of Gianni Schicchi is quite brilliant, and one of the funniest, cleverest things you’ll see in an opera house. Puccini’s taut one-acter is difficult to mess up, but it takes some skill to present it this well. Alden’s version is full of pleasures. Like Rhys Gannon’s stroppy young Gheradino, who spends most of the action wearing headphones and playing on an iPad. Read more... |
The Mastersingers of Nuremberg, English National OperaSunday, 08 February 2015
After seven glorious Welsh National Opera performances in the summer of 2010, it looked like curtains for Richard Jones’s Mastersingers (or Meistersinger, as it then was, sung in German): no DVD, no co-productions. The director seemed happy with that, as philosophical as Wagner's operatic characterisation of 16th-century cobbler-mastersinger Hans Sachs. Read more... |
Der fliegende Holländer, Royal OperaFriday, 06 February 2015
Like the Dutchman himself, Tim Albery’s Der fliegende Holländer makes its inevitable return to the Royal Opera House. Unlike the Dutchman, however, this production has broken free of its cycle of repetition. Perhaps expectations have changed, perhaps after two outings I’ve just surrendered to Tim Albery’s severe and sober staging, but for the first time since its 2009 debut this ghostly ship finally comes in to emotional harbour. Read more... |
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